Bob Geldof, Rock Musician / Philanthropist

Total Page:16

File Type:pdf, Size:1020Kb

Bob Geldof, Rock Musician / Philanthropist ROBERT GELDOF DCL Mr Chancellor, I don’t like Mondays. Sorry, I had to say it. It was a moment that would never come again. Bob Geldof introduced his autobiography with another line from his iconic pop song; at 12 46pm on 13th July 1985 he raised his arm and stopped the song at the line “The lesson today is how to die”; fellow humans in their billions fell silent and cared together about the children who were dying, who continue to die, one every 3 seconds. Some say Live Aid made no difference, that the money raised by the Band Aid song which preceded it was of little importance. Those same naysayers will refuse to be impressed by its successor, Live 8, which galvanised politicians attending the G8 conference to act on the madness of poverty induced by crippling interest payments on international loans. But something did change that day 21 years ago for all who remember it, not least for its unlikely architect, a dishevelled outspoken young musician who has described himself as pop star, poet, open-plan politician, living saint and big-mouthed gob-shite. You couldn’t make it up; a little boy rebelled against the institutional violence of his poor but respectable Catholic 1 upbringing in the suburbs of Dublin, slid to academic failure and on through pea tinning, road building, abattoir labouring and hot dog selling to near destitution in a London squat. Then the glimmer of hope with the discovery of purpose as a music journalist working as an “illegal” in Canada and on to a meteoric rise to fame as a New Wave singer songwriter in front of a band of misfits he called the Boomtown Rats, then on to leadership of a popular uprising against poverty and a knighthood and a phone call from the pope which interrupted him watching Dynasty. I can identify closely with part of his story; we are the same age and survived as the youngest with two much older sisters, little boys revered and patronised by their family in equal measure. I too was beaten by well meaning teachers colluding with a father who thought I wasn’t trying. There we diverge. My experience was for only a few months and I had a mother who shared my tears of injustice until I chose to win by achieving academic success. He faced physical beatings for years not months, and he faced them alone because his mother died suddenly when he was 7, leaving a scar which never fully healed. He survived those therapeutic assaults by withdrawing spiritually when he was 11. His intelligence and extrovert personality buried in the silent fury of adolescence. When he eventually emerged a decade later he had absorbed experiences which made him a man with whom countless young people wanted to identify. 2 Pop stardom is impressive, Live Aid was awesome but to have survived celebrity for two more decades and to still receive accolades from the music industry, have the ear of world leaders and be declared the person 4000 young people in the Prince’s Trust survey most admire, is truly unique. It has not been achieved by hiding behind a wall of publicists. He has continued to live his life in the real world. Anecdotes abound, like having to be asked by Margaret Fay, then station manager, not to change his baby daughter’s nappy in the ladies toilet at the Tyne Tees Studio because it upset the female staff. He remained accessible even through the agony of the desertion by his wife and first love Paula Yates and, for several years, loss of access to his daughters. His trauma was faced and defeated in the public gaze. He rebuilt himself and spoke out for all fathers presumed to be the inferior parent because of their gender. The secret of his survival and continued success is his total honesty. As a young pop singer he rejected the fashionable disdain for success in the punk era by announcing that he wanted to get famous, get rich and get laid. When asked recently about a health check he gave a graphic description of what it feels like to have your prostate examined. Apparently it’s not pleasant despite the KY jelly. In a world 3 where truth is regarded as a dangerous luxury he stands alone. He can and will continue to make a difference but he will have to tolerate for several more decades being told by people like me that they don’t like Mondays. Mr Chancellor, on behalf of the people to whom he has given a voice, I ask that you award Bob Geldof a Doctor of Civil Law honoris causa. Citation by Professor John Burn 4 .
Recommended publications
  • Bob Geldof and the Boomtown Rats
    “D A ESL MIX ” – CALIFORNIA SYSTEMS I DON ’T LIKE MONDAYS Bob Geldof and The Boomtown Rats The_silicon chip inside_her head gets_switched to overload; and nobody's gonna go to_school today, she's gonna make them s tay at home. And Daddy doesn't_understand it , He_always said she was good_as gold. And he can see no reason, 'cause there are no reasons. What reason do you need to be shown? Tell me why - I don't like Mondays Tell me why - I don't like Mondays Tell me why - I don't like Mondays I wanna shoot the whole day down. The Telex machine is kept so clean, And_it types to_a waiting world. And Mother feels_so shocked, father's world is rocked, and their thoughts turn to their_own little girl. Sweet sixteen ain't_that peachy keen. No, it_ain't so neat to_admit defeat. They can see no reasons, 'cause there are no reasons What reason do you need? Oh-h-h Tell me why - I don't like Mondays Tell me why - I don't like Mondays Tell me why - I don't like Mondays I wanna shoot the whole day down. Down, down, shoot it all down. And_all the playing's s topped in the playground now. She wants to play with her toys_a_while. And school's o ut early and_soon we'll be learning, and the lesson today is how_to_die. Telephone: 627 433 609 ● E-mail: [email protected] ● www.californiasys.com “D A ESL MIX ” – CALIFORNIA SYSTEMS And then the bullhorn crackles, and the captain tackles, with the_problems a nd the how's a nd_why's And he can see no reasons, 'cause there are no reasons What reason do you need to die, die? Oh-h-h And th e_silicon chip inside_her head gets_switched to overload; and nobody's gonna go to_school today, she's gonna make them s tay at home.
    [Show full text]
  • Music Video Goes Global
    Jeremy Harry Harris always wanted to be a musician. However, when he was younger his parents said he needed a job with prospects. He joined the army, but at 21-years-old, he had an accident during a parachute jump. My parachute failed to open correctly during a 330 metre descent. I fell to the ground too fast. I came down and hit my head and damaged my eye. Then followed two and a half years of rehabilitation. Jeremy Harry Harris - Singer Jeremy turned to his music and singing after losing his sight in one eye The accident meant Jeremy lost his sight in his right eye. Rather than dwell on what he'd lost, he felt this as a sign to throw his energy into something else. That meant returning to his first love of music and singing. Music video goes global Fast forward twenty-two years and Jeremy is now an accomplished musician and singer, touring America and South America several times over. Now at the age of 44 he's an award winner - securing a film festival award for his music video 'Shout Down the Silence.' Jeremy has toured globally as a singer and musician “You could say music became my therapy. My instrument of choice is the guitar and drums but in recent years I've moved across to singing,” he explains. Jeremy's first band 'Stone Circle' was very popular in Cuba and gathered a huge following there. He also formed an INXS tribute band called 'New Sensation' touring throughout Australia. While he never met Michael Hutchence he has been lucky enough to meet and perform for Sir Bob Geldof at his request.
    [Show full text]
  • S'impicca Il Leader Degli Inxs Una Carriera Lunga Vent'anni
    23SPE01A2311 ZALLCALL 12 22:16:16 11/22/97 GLI SPETTACOLI l’Unità2 7 Domenica 23 novembre 1997 Lo hanno Su Raiuno e Canale 5 trovato senza vita Proietti sfida in un albergo Dapporto di Sidney GialloGiallo Nessun nella serata messaggio e, della fiction dicono gli L’anno scorso medico, quest’anno prete, stasera rock «padre innocente». Stiamo parlando di Massimo amici, pareva rock Dapporto, che risulta credibile in tutti i ruoli e in uomo felice tutte le divise della fiction televisiva.Così come Gi- gi Proietti, che l’anno scorso fu per la Rai carabinie- re di straordinario successo e stasera è su Canale 5 Lo hanno trovato impiccato con 23SPE01AF01 L’avvocato Porta. una cintura di cuoio nella sua stanza Si scontrano in una crudele sfida (attenuata al quinto piano dellussuoso Ritz Car- 4.66 appena dalla grande diffusione dei videregistra- lton Hotel, inquartiereelegantediSi- 24.0 tori) due bravissimi attori che, indipendente- dney. È stato un cameriere a scoprir- mente dalla rete, dalla tv pubblica o privata e lo, intorno alle 11 di mattina, quan- dalla vicenda narrata, sono una garanzia per il do era ormai troppo tardi per poterlo video. Mentre il pur bravissimo Enrico Monte- soccorrere. Una morte drammatica e sano quest’anno ha toppato con Fantastico ed ancora misteriosa, quella della ro- era andato benissimo nella fiction delle passate ckstar australiana Michael Hutchen- stagioni. A quanto pare, il pubblico ama questi ce, 37 anni, cantante e leader del ottimi interpreti quando fanno il loro mestiere gruppo degli Inxs. Morte da rockstar e cioè recitano un ruolo vero e non quando pre- maledetta, battevano ieri pomerig- stano e sprecano il loro talento tra un’intervista gio le agenzie stampa, morte oscura, falsa e un giochino telefonico.
    [Show full text]
  • Artist Review: Revisiting Sting-An Under-Recognized Existentialist Song Writer1
    International Journal of Multidisciplinary Research and Growth Evaluation www.allmultidisciplinaryjournal.com International Journal of Multidisciplinary Research and Growth Evaluation ISSN: 2582-7138 Received: 01-05-2021; Accepted: 18-05-2021 www.allmultidisciplinaryjournal.com Volume 2; Issue 3; May-June 2021; Page No. 550-561 Artist review: Revisiting sting-an under-recognized Existentialist song writer1 Li Jia International College, Krirk University, Thanon Ram Intra, Khwaeng Anusawari, Khet Bang Khen, Krung Thep, Maha Nakhon10220, Thailand Corresponding Author: Li Jia Abstract Artistic expressions such as songs and poetry are examples of a solo artist but also helped him in communicating his free activities and are privileged modes of revealing what the thoughts and ideals to the world. His music, words and life world is about. Art’s power, in the case of existentialism, is are inextricably linked and this can be seen in many of Sting to a large extent devoted to expressing the absurdity of the ’s confessional songs that have connections to events in his human condition since for the existentialists, the world in no personal life. Existential characteristics have affected Sting longer open to the human desire of meaning and order. Sting both as a person and a musician. This paper calls for more is included in this pool of gifted artist and his talent in making researches on his music legacy that the world owned him for songs has not only paved the way for his successful career as a long time. Keywords: Sting, Existentialist, Song Writer Introduction Artistic expressions such as songs and poetry are examples of free activities and are privileged modes of revealing what the world is about.
    [Show full text]
  • Singles 1970 to 1983
    AUSTRALIAN RECORD LABELS PHILIPS–PHONOGRAM 7”, EP’s and 12” singles 1970 to 1983 COMPILED BY MICHAEL DE LOOPER © BIG THREE PUBLICATIONS, APRIL 2019 PHILIPS-PHONOGRAM, 1970-83 2001 POLYDOR, ROCKY ROAD, JET 2001 007 SYMPATHY / MOONSHINE MARY STEVE ROWLAND & FAMILY DOGG 5.70 2001 072 SPILL THE WINE / MAGIC MOUNTAIN ERIC BURDON & WAR 8.70 2001 073 BACK HOME / THIS IS THE TIME OF THE YEAR GOLDEN EARRING 10.70 2001 096 AFTER MIDNIGHT / EASY NOW ERIC CLAPTON 10.70 2001 112 CAROLINA IN MY MIND / IF I LIVE CRYSTAL MANSION 11.70 2001 120 MAMA / A MOTHER’S TEARS HEINTJE 3.71 2001 122 HEAVY MAKES YOU HAPPY / GIVE ‘EM A HAND BOBBY BLOOM 1.71 2001 127 I DIG EVERYTHING ABOUT YOU / LOVE HAS GOT A HOLD ON ME THE MOB 1.71 2001 134 HOUSE OF THE KING / BLACK BEAUTY FOCUS 3.71 2001 135 HOLY, HOLY LIFE / JESSICA GOLDEN EARING 4.71 2001 140 MAKE ME HAPPY / THIS THING I’VE GOTTEN INTO BOBBY BLOOM 4.71 2001 163 SOUL POWER (PT.1) / (PTS.2 & 3) JAMES BROWN 4.71 2001 164 MIXED UP GUY / LOVED YOU DARLIN’ FROM THE VERY START JOEY SCARBURY 3.71 2001 172 LAYLA / I AM YOURS DEREK AND THE DOMINOS 7.72 2001 203 HOT PANTS (PT.1) / (PT.2) JAMES BROWN 10.71 2001 206 MONEY / GIVE IT TO ME THE MOB 7.71 2001 215 BLOSSOM LADY / IS THIS A DREAM SHOCKING BLUE 10.71 2001 223 MAKE IT FUNKY (PART 1) / (PART 2) JAMES BROWN 11.71 2001 233 I’VE GOT YOU ON MY MIND / GIVE ME YOUR LOVE CAROLYN DAYE LTD.
    [Show full text]
  • SIRIUS Satellite Radio to Premiere Music from Historic 1985 Live Aid Benefit Concert
    SIRIUS Satellite Radio To Premiere Music From Historic 1985 Live Aid Benefit Concert Special program will be presented by original MTV VJs and SIRIUS on-air hosts Mark Goodman, Alan Hunter and Nina Blackwood on Big ‘80s channel NEW YORK, NY (Nov. 9, 2004) – SIRIUS Satellite Radio will premiere tracks from the new Live Aid concert film on Saturday, November 13 and Sunday, November 14, before the film is available on DVD at retail on November 16. In addition, original MTV VJs Mark Goodman, Alan Hunter and Nina Blackwood, who are hosts on commercial-free SIRIUS music channel Big ‘80s, will provide their personal recollections from the July 13, 1985 event, as part of the special Live Aid Replayed broadcast on SIRIUS, starting at 12 pm ET on Big ‘80s, channel 8. Live Aid was the biggest event in music history, presenting the biggest names in pop and rock music performing live from two continents to a televised audience of more than 1.5 billion to raise money to combat famine in Ethiopia. The stages of Wembley Stadium in London and JFK Stadium in Philadelphia, PA together featured more than 60 artists, including Paul McCartney, Madonna, Sting, Eric Clapton, The Who, Mick Jagger, U2, Pretenders, Queen, Neil Young, Duran Duran and Elton John, to name a few. As MTV VJs at the time, Mark Goodman, Alan Hunter and Nina Blackwood were an integral part of the live MTV broadcast of the event from Philadelphia. A highlight of Live Aid Replayed on SIRIUS will be their unique insights and memories of the event, its performers and its impact.
    [Show full text]
  • Authenticity, Politics and Post-Punk in Thatcherite Britain
    ‘Better Decide Which Side You’re On’: Authenticity, Politics and Post-Punk in Thatcherite Britain Doctor of Philosophy (Music) 2014 Joseph O’Connell Joseph O’Connell Acknowledgements Acknowledgements I could not have completed this work without the support and encouragement of my supervisor: Dr Sarah Hill. Alongside your valuable insights and academic expertise, you were also supportive and understanding of a range of personal milestones which took place during the project. I would also like to extend my thanks to other members of the School of Music faculty who offered valuable insight during my research: Dr Kenneth Gloag; Dr Amanda Villepastour; and Prof. David Wyn Jones. My completion of this project would have been impossible without the support of my parents: Denise Arkell and John O’Connell. Without your understanding and backing it would have taken another five years to finish (and nobody wanted that). I would also like to thank my daughter Cecilia for her input during the final twelve months of the project. I look forward to making up for the periods of time we were apart while you allowed me to complete this work. Finally, I would like to thank my wife: Anne-Marie. You were with me every step of the way and remained understanding, supportive and caring throughout. We have been through a lot together during the time it took to complete this thesis, and I am looking forward to many years of looking back and laughing about it all. i Joseph O’Connell Contents Table of Contents Introduction 4 I. Theorizing Politics and Popular Music 1.
    [Show full text]
  • An Abstract of the Thesis Of
    1 INTRODUCTION The end of the Cold War radically realigned global politics and led to a renewed interest in transnational civil society. The new civil society that helped bring down the Soviet Empire has been considered a major enabling element for worldwide democratization. Simultaneously, social movements addressing issues such as the environment and human rights globalized and increased their prominence within civil society. Leading such movements were inter-governmental organizations (IGOs), like the United Nations, and non-governmental organizations (NGOs), like Amnesty International and Greenpeace. Collectively known as international organizations (IOs), the reorganized worldwide society created an atmosphere where such IOs could proliferate and flourish, and become a significant factor in the post-Cold War world. While IGOs are quite powerful, NGOs have achieved a dramatic impact working as non-state players in international society. Current scholars of international relations have begun to consider the implications of traditionally non-political actors advocating political and social causes. However, much of that work has focused on NGOs and their interactions with each other, the governments of nation-states and IGOs. Keck and Sikkink (1998) evaluate the prominence of NGOs and the transnational networks that such organizations form to frame issue debates and establish them on agendas of international concern. However, another important piece of the puzzle for NGOs to successfully promote a political or social agenda is the role played by individual non- state actors, and not just non-state organizations. Non-state actors often have a unique ability to impact an audience that may not be affected by NGOs, especially when these 2 non-state individuals are celebrities.
    [Show full text]
  • „Das Hässliche Hinterlässt Spuren“
    Kultur SPIEGEL-GESPRÄCH „Das Hässliche hinterlässt Spuren“ Der irische Musiker Bob Geldof über Depressionen nach dem Ende seiner Ehe, seinen politischen Kampf für die Ärmsten der Welt und sein neues Album „Sex, Age & Death“ Geldof, 50, wurde 1979 bekannt 1997 unter nie ganz geklärten Umständen, als Sänger der Boomtown Rats Paula Yates starb 2000 an einer Überdosis mit dem Song „I Don’t Like Mon- Drogen. Dieses Trauma arbeiten Sie mit days“ – und 1985 weltberühmt als Ihrer Platte ab? Organisator der Live-Aid-Kon- Geldof: Es ging um alles, was damit zu tun zerte zu Gunsten der Hungern- hatte. Dies war nur der letzte Akt einer den Afrikas, die zeitgleich in schrecklichen, fast Shakespeareschen Tra- London und Philadelphia statt- gödie. Tatsächlich war das Album fertig, fanden. Etwa 1,7 Milliarden Men- bevor Paula starb. Die Platte hat nichts mit schen verfolgten das Ereignis Katharsis zu tun. Trotzdem ist es bis heu- an Fernseher und Radio. Geldof te sehr belastend für mich, sie anzuhören. hat drei Töchter und eine Pflege- SPIEGEL: Wann haben Sie angefangen, an tochter. Er lebt in London. „Sex, Age & Death“ zu arbeiten? Geldof: Ich weiß, es klingt seltsam, aber ich SPIEGEL: Mr. Geldof, nach privaten habe keine Ahnung. Als meine Frau mich Schicksalsschlägen, die in aller 1995 verlassen hat, bin ich völlig zusam- Öffentlichkeit verhandelt wurden, mengebrochen. Zwei, drei Jahre lang war und vielen Jahren musikalischer ich außer Funktion. Pause haben Sie nun ein Album SPIEGEL: Litten Sie unter Depressionen? herausgebracht, das schon im Titel Geldof: Das war mehr als Depression. Jeder von den ganz großen Dingen des hat ähnliche Geschichten zu erzählen, wie Lebens zu erzählen verspricht – er mal verlassen wurde.
    [Show full text]
  • Boomtown Rats Boomtown Rats Royce 5'9
    ROYCE 5’9” MORRISSEY BOOMTOWN RATS THE ALLEGORY I AM NOT A DOG CITIZENS OF BOOMTOWN EONE BMG BMG “The goal was to make something that feels like a Morrissey kicks off the new decade with the release The Boomtown Rats - Bob Geldof on vocals, Pete hip-hop album, but that has a lot of layers you may of his thirteenth solo studio album, I Am Not A Dog Briquette on bass, Simon Crowe on drums and Garry not necessarily get on the first time,” says Royce Da On A Chain. “I have now produced four studio albums Roberts on guitar - mark 2020 (The Year Of The Rat) 5’9” about his masterpiece, The Allegory. “It’s really for Morrissey,” says the great Joe Chiccarelli (Beck, with the release of Citizens Of Boomtown, their first abstract in the way that it’s constructed… It’s the anti- The Strokes, The Killers). “This is his boldest and most new studio album since 1984. Featuring 10 glorious new everything.” Royce has long been a respected emcee, adventurous album yet… And once again proving that Boomtown Rats songs produced by Briquette, Citizens but now he can count himself as a great producer. as a songwriter and singer, he is in his own category.” of Boomtown is ushered in by the beautifully sleazy Royce sculpted every track – toying with spoken word, One supposes. Anyway: It’s notable that the album’s rocker “Trash Glam Baby.” Formed in 1975 in Dublin boom-bap, and avant garde funk. As for the lyrics: first single, “Bobby, Don’t You Think They Know?” The Boomtown Rats became part of the burgeoning “They say you are what you eat, but I never ate goat” is features Motown legend Thelma Houston – best known punk scene.
    [Show full text]
  • Banana Republic? by Dr Steven Mccabe, Associate Professor, Institute of Design and Economic Acceleration
    Banana Republic? By Dr Steven McCabe, Associate Professor, Institute of Design and Economic Acceleration (IDEA) and Senior Fellow, Centre for Brexit Studies, Birmingham City University “Banana Republic” is the 1980 single from new wave act, The Boomtown Rats and taken from their album Mondo Bongo. “Banana Republic” was written by lead singer, campaigner, entrepreneur and generally rambunctious Dubliner, Bob Geldof, in collaboration with bass player Pete Briquette, real name Patrick Cusack, who’s from Ballyjamesduff in County Cavan; not far from where my parents were born. equity). Many on new developments had to endure years of living on partially competed estates. Wha It is increasingly hard to know where to start as to analysing how utterly appalling his stewardship has been. Having secured an 80-seat majority based explicitly on delivering the will of the people in promising to “get Brexit done” through his “oven-ready deal”, the very next day, he attended what The Guardian It’s worth noting that during the pandemic, Varadkar re-registered as doctor during Covid-19 pandemic so he could assist the Irish health service during the crisis. Varadkar’s example of being among .
    [Show full text]
  • The Case of Peaches Geldof. Diane Charl
    Performing celebrity motherhood on Twitter: Courting homage and [momentary] disaster – the case of Peaches Geldof. Diane Charlesworth: University of Lincoln, UK. Email: [email protected] @peaches-g ‘Just how far the cult of celebrity and super fandom has come when grown women are passing their own kids round. I hate the world sometimes’. The above was part of a Twitter message that Peaches Geldof published in November 2013. In it she also named the two women who had allowed the Lost Prophets’ singer Ian Watkins to abuse their babies. What became key elements focused upon by journalists in the newspaper debate that followed, her subsequent deletion of the message and apology, was the purpose of Twitter as a form of communication, and the celebritisation of public discourse. This tweet was constructed as an empty-headed, gossipy, childish and hence feminised intervention into the public sphere.i Also tied up with this debate was the on-going narrative of the ‘non-functionality’ of celebrity culture and its ‘reflexive exhibitionism’ (Hyde 2013). Yet Geldof had, until this point, used a combination of Twitter and Instagram to enact a self- transformation from girlhood to motherhood that had drawn critical affirmation from both media pundits and female followers via the social media sites. It is this image of motherhood that has informed the reporting of her sudden death of a heroin overdose at the age of 25 on 7 April 2014. Geldof’s intervention and comment on the failure of mothers to protect their children in the above cited tweet, should be analysed in the context of her own very serious performance of that identity.
    [Show full text]